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SWAIN  SCHOOL  OF  DESIGN 


Digitized  by  the  Internet  Archive 

in  2012  with  funding  from 

Boston  Library  Consortium  Member  Libraries 


http://archive.org/details/circular7476swai 


SWAIN  SCHOOL  OF  DESIGN 

19  Hawthorn  Street  New  Bedford  Mass  02740 

Telephone  (617)  997  3158 


Contents 


4 

Introduction 

6 

History  and  Growth 

8 

William  Crapo  Gallery 

10 

Admission 

14 

Financial  Aid 

14 

Medical  Care 

15 

Housing 

15 

Adult  and  Childrens  Classes 

16 

Academic  Requirements 

20 

Foundation  Program 

22 

The  First  Year 

24 

Second  Year 

29 

Note  on  Photography 

30 

Major  Program 

40 

Liberal  Arts 

48 

Faculty 

49 

Administration 

50 

Trustees 

51 

Advisors 

r- 


m  School  of  Design 


The  Swain  School  offers  professional  training  in 
painting,  design,  sculpture,  and  printmaking.  It  is  a 
small  school,  intimate,  and  capable  of  closely  directing 
and  encouraging  a  student's  growth  as  an  artist. 

Our  size  permits  us  to  see  ourselves  as  a  community  of 
artists.  We  think  of  teachers  as  persons  who  have  been 
artists  longer,  have  trained  their  hands  and  their 
judgement,  know  techniques  and  know  the  lay  of  the 
land.  We  recognize  the  value  of  this  relationship  and 
intend  to  remain  a  small  school.  We  do  not  plan  to 
grow  beyond  an  enrollment  of  two  hundred  students 
though  that  makes  us  one  of  the  smallest  colleges  in 
the  country. 

We  believe  that  the  young  artist  develops  as  he  learns 
the  basic  concepts  and  skills  which  all  visual  arts 
share.  In  the  freshman  year  our  studio  curriculum  is 
rigorous;  we  concentrate  on  the  problem  of  seeing  the 
contour  and  volume  of  objects  and  the  problem  of 
organizing  an  interesting  page.  Once  these  skills  are 
mastered  the  student  is  encouraged  to  use  them.  The 
senior  is  expected  to  be  an  artist  responsible  to 
himself. 


In  the  beginning  we  teach  the  grammar  of  art,  that 
when  you  speak  you  speak  clearly.  It  is  a  discipline 
intended  to  increase  the  variety  of  what  you  are  able  to 
say,  what  you  are  able  to  see. 

As  an  art  school  we  are  a  professional  school,  more 
like  a  school  of  medicine  or  a  school  of  accounting 
than  a  liberal  arts  college.  But  we  realize  that  the  arts 
are  a  most  unusual  profession,  one  more  often 
misunderstood  than  understood.  Recent  tradition  sees 
the  artist  as  only  a  painter  or  a  sculptor;  we  respect 
that  definition,  but  would  argue  that  the  designer  is 
also  an  artist,  and  an  artist  whose  audience  is  less 
remote.  A  society  as  complex  as  ours  needs  and  must 
employ  responsible  designers  for  industry,  creators  of 
new  materials  for  education  and  original  thinkers  in 
environmental  projects. 

A  medical  student  becomes  better  as  his  curiosity 
becomes  narrower,  contracts  from  mankind  to  the 
body  to  the  spleen.  The  reverse  is  true  of  the  painter, 
sculptor  or  designer.  Only  as  his  interest  broadens 
does  he  deepen.  If  an  artist  heals  it  is  not  by  surgery 
but  by  seeing  things  whole. 


A  map  maker  who  knows  nothing  but  old  maps  is 
either  a  criminal  or  a  comedian,  he  must  go  see  land. 
The  painter,  sculptor  or  designer  makes  maps  of 
moods  or  moments,  some  of  them  lost  in  fog.  He  too 
must  move  to  see  them  clearly.  To  grow,  an  artist  must 
acknowledge  that  he  has  not  invented  the  world, 
respect  the  ways  experience  was  seen  before  him.  It  is 
for  this  that  we  ask  the  student  who  would  grow  as  an 
artist  to  study  art  history  and  literature  and  the  social 
sciences.  And  more  important  ask  him  to  observe 
himself,  other  people,  the  town  around  him. 

Convinced  that  the  artist  does  not  exist  to  create  luxury 
for  a  prosperous  society,  we  attempt  to  bring 
ourselves,  faculty  and  students,  into  immediate  contact 
with  our  surrounding  society.  This  underscores  our 
belief  that  the  work  of  the  artist  is  a  moral  or  an  ethical 
act.  We  expect  our  student  to  effect  reform  through  the 
responsible  use  of  his  talents. 


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In  1881,  the  will  of  William  W.  Swain  established  a 
non-profit  educational  institution  whose  Trustees  and 
Faculty  were  charged  with  the  responsibility  to  "qualify 
the  pupils  for  the  practical  duties  of  life  in  the  spheres 
they  will  be  probably  called  upon  to  act  in."  Originally 
named  the  Swain  Free  School,  a  variety  of  subjects 
were  taught  including  courses  in  language, 
mathematics,  science,  history,  logic  and  art.  With  the 
development  of  other  educational  facilities  in  the 
community  and  the  rise  of  New  Bedford  as  one  of  the 
largest  textile  centers  in  the  United  States,  increasing 
emphasis  was  placed  on  instruction  in  design.  Today 
the  Swain  School  of  Design  is  a  co-educational 
professional  art  school  offering  a  four  year  program  in 
the  visual  arts,  leading  to  a  Bachelor  of  Fine  Arts 
degree. 


opportunities  in  both  cultural  and  recreational 
activities.  The  Public  Library  is  of  particular  value  to  the 
unique  artistic  tradition  of  the  city.  New  Bedford  was 
the  birthplace  of  Albert  Ryder  and  home  of  Alfred 
Bierstadt  and  Dwight  Tryon.  The  Museum  of  the  Old 
Dartmouth  Historical  Society  records  another  aspect  of 
the  city's  history,  that  of  the  whaling  industry.  Across 
the  street  from  the  museum  is  preserved  the  Seaman's 
Bethel  which  Melville  describes  in  his  classic  novel 
Moby  Dick.  The  cultural  life  of  the  city  is  further 
augmented  by  its  advantageous  position  between 
Boston,  Providence  and  Cape  Cod. 


Surrounding  the  site  of  the  original  William  W.  Swain 
residence,  the  School  is  located  in  an  area  of  New 
Bedford  noted  for  important  examples  of  the  18th  and 
19th  century  architecture.  In  close  proximity  to  the 
campus  is  the  new  Bedford  Public  Library  and  the 
Whaling  Museum.  Southeastern  Massachusetts 
University  is  located  in  North  Dartmouth,  hardly  ten 
minutes  by  car.  This  new  university  offers  vast 


A  recent  consultant  to  the  School  noted  that  "the 
generosity  of  the  Trustees  has  visibly  blessed  the 
School  with  a  number  of  charming  buildings  of  rare 
human  scale  organically  related  to  a  delightful 
community  locale".  By  conscious  effort  and  happy 
accident  our  campus  expresses  the  distinct  character 
of  the  school  and  supports  the  way  in  which  we  go 
about  our  educational  purpose. 

The  Swain  School  of  Design  is  affiliated  with  the  New 

England  Association  of  Schools  and  Colleges,  Inc., in 

the  category  of  Recognition  of  Candidacy  for 

Accreditation. 

Division  III  member  of  the  National  Association  of 

Schools  of  Art. 

Charter  Member  of  the  American  Federation  of  Art. 

Member  of  the  American  Association  of  Museums. 

The  School  is  licensed  by  the  Massachusetts  Board 
of  Higher  Education  to  grant  the  degree  of  Bachelor  of 
Fine  Arts;  approved  by  the  Veterans  Administration;  by 
the  U.  S.  Department  of  Justice  for  the  training  of 
foreign  students. 


William  Crapo  gallery 


The  William  W.  Crapo  Gallery  was  founded  in  1925  to 
provide  Swam  students  and  the  community  with  an 
opportunity  to  view  original  works  of  art.  Each  year  the 
Gallery  offers  approximately  ten  exhibits  including 
such  diverse  achievements  as  primitive  art,  nineteenth 
century  painting  and  the  more  contemporary  efforts  of 
the  avant  garde.  In  order  to  fulfill  its  educational 
function  more  completely,  lectures  and  panel 
discussions  are  regularly  scheduled  and  often 
re-broadcast  for  the  television  audience.  The  Crapo 
Gallery  is  a  member  of  the  American  Association  of 
Museums. 


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Our  School  is  small.  We  do  not  do  our  admissions  on  a 
statistical  basis.  We  have  learned  that  visual 
intelligence  is  the  best  indication  of  a  student's  ability 
to  excell  in  our  professional  and  academic  programs. 
We  favor  the  interview  and  portfolio  discussion  over 
other  ways  to  measure  a  student's  ability.  Our  policy  is 
one  of  well  considered  madness,  in  which  neither  high 
academic  rank  nor  impressive  college  board  scores 
are  any  more  than  interesting  bits  of  information  about 
an  applicant. 

An  applicant  must  be  a  high  school  graduate  or  have 
acceptable  equivalent  preparation.  However,  a 
candidate  who  evidences  special  interest,  unusual 
ability  or  promise,  may  be  considered  for  admission  as 
a  special  student  at  the  discretion  of  the  admission 
committee.  Each  applicant  is  considered  on  the  basis 
of  his  aptitude  as  well  as  his  character  and  personal 
qualifications. 


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Portfolio  ^Interview 


Applicants  must  complete  the  School's  application 
form  and  submit  it  together  with  a  $10.00  application 
fee  (not  refundable  and  not  credited  to  any  school 
bills)  to  the  Registrar,  Swain  School  of  Design,  19 
Hawthorn  Street,  New  Bedford,  Massachusetts.  The 
applicant  should  request  the  principal  of  his  secondary 
school 'to  forward  a  transcript  of  grades  at  the  time  of 
application.  He  should  file  two  letters  of 
recommendation.  It  is  advised  that  the  applicant  visit 
the  School  and  arrange  for  a  personal  interview  with 
the  Director  of  Admissions,  preferably  no  later  than 
April  1st. 

A  school  medical  form  is  furnished  to  all  applicants  but 
need  not  be  submitted  for  admissions  review.  It  is  to 
be  completed,  signed  by  a  physician  and  returned  to 
the  School  by  all  successful  applicants  before   . 
August  1st. 


Transfer  Students  An  applicant  requesting 
advanced  standing  should,  with  two  exceptions,  follow 
the  procedure  as  outlined  above.  In  addition  to  high 
school  records,  a  transcript  of  college  grades  is 
required.  In  considering  a  portfolio,  the  student  should 
consider  work  that  would  substantiate  the  request  to 
exempt  specific  studio  courses. 

All  correspondence  and  requests  for  information 
should  be  directed  to:  David  L.  Smith,  Dean  of  the 
School  and  Director  of  Admissions,  19  Hawthorn 
Street,  New  Bedford,  Massachusetts  02740;  telephone 
(617)  999-4436. 


12 


Each  applicant  must  submit  a  portfolio  of  original  work 
(slides  may  be  accepted  if  some  pieces  are 
exceptionally  large  or  if  the  portfolio  is  sent  by  mail) 
clearly  marked  with  your  name,  address  and  the  name 
of  your  school.  Pieces  can  be  done  either 
independently,  or  under  guidance,  but  should  be  so 
designated.  Work  executed  from  photographs  is  not 
acceptable.  The  following  items  are  reguested: 

Self  portrait  in  pencil  or  charcoal  to  be  done  from  life. 

Interior  in  pencil  or  charcoal  to  be  done  from  a  room 

in  your  home. 

Still-life  that  includes  at  least  four  objects. 

Design  using  geometric  shapes  in  black  and  white. 

A  three  dimensional  object  (a  piece  of  sculpture,  a 

package,  a  machine,  a  musical  instrument)  you  have 

made. 

Three  drawings,  paintings,  sculpture,  designs,  prints  or 

photographs  of  your  choice. 

You  are  encouraged  to  submit  examples  of  work  other 
than  visual  art  (writing,  poetry,  music,  etc.)  which  are 
important  to  you. 


13 


Financial  Aid  Parents  and  students  should  be  fully 
aware  that  today,  scholarship  awards,  from  nearly 
every  source,  are  based  almost  entirely  upon  need 
rather  than  academic  performance.  'Grants  in  Aid' 
would  be  a  more  precise  term.  Nearly  all  awards  are 
made  on  a  four-year  term  because  most  agencies  do 
not  wish  to  leave  you  'high  and  dry'  midway  through 
your 'studies.  A  final  point  is  that  there  are  many 
sources  and  a  considerable  amount  of  money 
available  in  scholarship  assistance,  enough  that  no 
person  genuinely  desiring  higher  education  need  be 
turned  away  for  lack  of  funds. 

Portia  C.  &  Thomas  W.  Casey  Memorial 
Scholarship  an  endowed  fund  for  outright  scholarship 
grants. 

Clement  L.  Yaeger  Scholarship  Fund,  an  endowed 
fund  for  outright  scholarship  grants. 

Swain  Funds  The  School  provides  funds  as  matching 
portions  of  federal  grants. 


Student  Loans,  Educational  Opportunity  Grants  and 
the  College  Work  Study  Program.  All  awards  are  made 
by  the  School. 

Guaranteed  Loans  Most  states  provide  guaranteed 
loans  for  educational  purposes,  usually  with  a 
maximum  of  $1 ,000  per  year  for  five  years.  These 
loans  are  administered  by  banks.  Interest  rates  and 
repayment  periods  vary  from  state  to  state;  for  further 
information  contact  your  local  bank. 

State  Scholarships  Many  states  make  significant 
scholarship  awards,  usually  on  the  basis  of  need.  For 
further  information  contact  your  guidance  counselor, 
appropriate  state  agency,  or  the  Swain  School. 

Placement  The  school  provides  a  placement  service 
which  offers  assistance  in  finding  interesting 
employment  for  graduating  students  and  alumni.  The 
service  will  also  be  as  helpful  as  possible  in 
applications  for  graduate  study  and  special  projects 
for  interested  Foundations. 


Federal  Programs  The  Swain  School  administers 
three  federal  student  aid  programs:  National  Direct 
14 


Medical  Care  The  services  of  a  school  appointed 
physician  are  available  to  all  students.  Charges  are 


adult  &  childrens  dasses 


made  directly  to  you.  All  students  are  urged  to  avail 
themselves  of  low-cost  Health  and  Accident  Insurance 
policies.  Forms  for  the  Blue  Cross-Blue  Shield  student 
policies  are  available  through  the  School. 

Housing  We  have  no  dormitories.  But  we  do  have  a 
housing  service  which  will  provide  you  with  a  list  of 
rooms  and  apartments  available  near  the  School.  This 
service  works  best  when  you  give  us  adequate 
warning.  You  should  tell  us  in  the  spring  the  kind  of 
housing  you  want  for  the  following  fall,  whether  you 
want  roommates,  a  kitchen,  how  much  money  you 
want  to  pay. 

Adult  and  Children's  Classes  In  addition  to  the 
degree  program  the  School  offers  art  instruction  in  its 
Saturday  School,  the  Evening  School  and  in  the  six 
week  summer  program.  A  separate  bulletin  is  issued 
describing  these  courses  and  listing  fees. 


15 


Academic  requirements 


B.F.A.  Degree  Requirements  A  total  of  122  credits, 
86  in  studio  courses  and  36  in  liberal  arts,  and 
submission  of  acceptable  work  for  the  Senior  Show  are 
required  for  the  Bachelor  of  Fine  Arts  Degree. 

Diploma  Requirements  Recognizing  the  fact  that 
some  students  wish  to  forego  the  liberal  arts  to 
concentrate  on  studio  work,  Swain  offers  a  four  year 
studio  program.  120  credits,  108  in  studio  courses  and 
12  in  Art  History,  are  required  for  the  Diploma. 

Grades  A  grade  scale  of  A  B  C  D  and  F  is  used  to. 
designate  the  students'  standing.  The  letter  grades  are 
considered  the  equivalent  of  the  following  percentage 
scale:  A  =  90-100,  B  =  80-89,  C  =  70-79,  D  =  60-69. 
The  grade  I  for  Incomplete  is  a  substitute  grade  for 
situations  in  which  students  could  not  complete 
required  assignment  due  to  circumstances  beyond 
their  control.  The  required  work  must  be  completed  by 
a  designated  time  for  a  student  to  be  awarded  credit. 
For  the  computation  of  scholastic  averages,  reported 
grades  have  the  numerical  vale  of  A  =  4.0,  B  =  3.0, 
C  =  2.0,  D  =  1.0,  F  =  0  for  each  credit  hour. 


Credit  Hours  Studio  credit  hours  in  all  courses  are 
based  on  a  ratio  of  one  credit  for  every  two  hours  of 
scheduled  studio  time.  Credit  hours  for  academic 
subjects  are  based  on  a  ratio  of  one  credit  for  every 
one  hour  of  class  attendance. 

Probation  A  first  year  student  earning  a  semester 
average  of  less  than  1.7  and  an  upper  class  student 
earning  less  than  2.5  in  his  major  field  is  placed  on 
probation.  Any  student  who  is  on  probation  for  two 
consecutive  semesters  will  be  reviewed  by  a  special 
faculty  committee. 

Absence  Absences  are  considered  permissible  only 
in  case  of  illness  or  for  other  reasons  of  necessity.  It  is 
your  responsibilityto  notify  the  School  immediately  of 
an  absence  and  its  cause.  Missing  work  must  be  made 
up  whenever  you  have  been  absent. 

Registration  Students  already  in  the  School  are 
required  to  register  and  make  out  tentative  schedules 
for  the  following  year  by  June  1.  Students  enrolling 
after  School  opening  date  are  required  to  pay  a  five 
dollar  late  registration  fee. 


16 


Grade  Reports  Grade  reports  will  be  given  out  at  the 
end  of  each  semester.  All  freshmen  and  other  students 
whose  grade  average  is  D  or  less  will  receive  a  grade 
report  at  midsemester. 

Transcripts  Graduates  and  students  in  good 
standing  are  entitled  to  one  complete  statement  of  their 
school  record  without  charge.  One  dollar  will  be 
charged  for  each  additional  copy. 

Student  Work  The  School  reserves  the  right  to  retain 
two  works  of  each  student  for  exhibition  purposes.  All 
other  property  must  be  removed  from  School  premises 
at  the  end  of  the  academic  year.  At  no  time  does  the 
School  have  responsibility  for  student  property. 

Reviews  Our  policy  of  formal  reviews  for  second, 
third  and  fourth  year  students  is  an  important  part  of 
the  educational  program  and  a  unique  expression  of  a 
small  professional  school  at  work.  Individually  you  will 
have  a  yearly  opportunity  to  discuss  your  work,  your 
ambitions  and  your  problems  with  all  of  the  faculty. 


studio  courses  are  discussed  in  the  form  of  a  general 
critique  and  as  an  open  exchange  to  help  you  select 
your  field  of  major  concentration. 

Junior  Reviews  take  place  in  the  middle  of  the  second 
semester.  You  will  submit  work  mainly  from  your  Major 
field  and  the  theme  of  the  discussion  will  be  'work  in 
progress'.  Suggestions  are  made  with  regard  to 
broadening  your  point  of  view,  emphasizing  strengths 
and  planning  the  next  year's  projects  which  also 
include  application  for  graduate  study  and/or  other 
career  possibilities. 

Senior  Reviews  take  place  at  the  end  of  the  first 
semester.  Directions  taken  since  the  previous  review 
are  considered  most  carefully  but  attention  is  given  to 
firming  up  plans  after  graduation. 


Sophomore  Reviews  take  place  at  the  end  of  the  year. 
Representative  examples  of  work  from  all  of  your 


17 


rogram 


The  Foundation  Program,  involving  the  first  and 
second  year,  is  directed  at  six  goals  considered 
necessary  in  the  mastery  of  the  artist's  craft. 

An  ability  to  translate  the  volumes  and  rhythms  of  the 
human  figure  onto  a  flat  page,  and  to  understand  the 
structural  problems  that  exist  within  the  random 
appearance  of  a  landscape  or  a  group  of  still-life 
objects. 

A  knowledge  and  understanding  of  traditional  theories 
of  color  and  composition. 

An  ability  to  analyze  and  resolve  a  variety  of  problems 
in  two  and  three  dimensional  design. 

A  view  of  civilization  as  an  evolving  process  in  which 
clear  relationships  exist  between  the  arts  and  man's 
other  accomplishments. 

An  introduction  to  reading  and  writing  as  a  craft  of 
finding  your  own  convictions,  testing  them  and  shaping 
them. 


20 


An  exploration  of  a  sufficient  range  of  disciplines  to 
allow  you  to  choose  your  particular  field  of  interest. 

The  emphasis  on  basic  skills  and  concepts  in  the  first 
two  years  makes  it  possible  to  maintain  instruction  in 
the  Major  Programs  on  a  highly  professional  level. 


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Furthermore,  you  will  have  to  face  many  unexpected 
and  unplanned  challenges  within  the  full  span  of  your 
career.  The  Foundation  Program  assures  you  of  having 
a  wide  frame  of  reference  and  skills  with  which  to  meet 
these  problems. 


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91 


Thefirffyear 


Art  History  (1  semester)  It  is  very  easy  to  see  your 
reaction  to  another  person's  work,  but  hard  to  see  the 
work  itself,  hard  to  see  what  he  has  seen.  Each  visual 
work  is  a  map  describing  a  way  to  see  the  world,  use 
the  world,  live  in  the  world.  Each  visual  style  describes 
and  even  shapes  a  life  style.  Believing  is  seeing.  But  it 
is  possible  to  be  blinded  by  the  reflex  of  taste. 

This  course  investigates  the  connection  between  style 
in  art  and  beliefs  about  the  world.  Works  are  studied 
topically  rather  than  chronologically  and  are  arranged 
under  such  headings  as:  the  mask,  the  effigy,  the 
mirror,  the  masquerade,  the  meeting,  the  narrative,  the 
transformation,  the  sacred  grove,  the  landscape,  the 
map,  the  cup.  Throughout  this  sequence  we  explore 
the  process  of  looking  at  works  of  art  and  finding  ways 
to  see  them. 
3 

Design  I,  Two  Dimensional  The  goal  of  Design  I  is 
understanding  the  grammar  of  design  and  organizing, 
through  a  keen  sensitivity  and  awareness,  one's  visual 
habits.  Problems  begin  dealing  with  black  and  white 
spatial  organization  and  progress  into  a  more  complex 
investigation  of  color  theory. 
22 


Basic  design  is  approached  as  a  form  of  enquiry,  not 
an  art  form  in  itself.  It  is  important  to  learn  and 
experience  the  greatest  possible  variety  in  solutions  by 
the  exploration  and  manipulation  of  line,  shape,  and 
space,  in  combination  with  color,  value,  and  texture. 
This  course  suggests  directions  in  which  you  explore 
these  interrelationships  while  simultaneously  achieving 
limitless  variations.  It  is  through  these  experiences  that 
you  develop,  visually  and  verbally,  a  sense  of 
judgement  concerning  your  growth  and  carry  this 
attitude  on  to  a  more  concentrated  area  of  your 
particular  interest. 
2  -  2 

Design  I,  Three  Dimensional  This  course  is  basically 
concerned  with  the  organization  of  space,  and  the 
expansion  of  your  vocabulary  of  form  through  various 
methods  of  exposure.  "The  whole  of  Nature  is  an 
endless  demonstration  of  form,  and  it  surprises  me 
when  artists  try  to  escape  from  this"  —  Henry  Moore. 
Emphasis  will  be  placed  on  developing  technical  skills 
so  that  you  will  be  capable  of  translating  abstract  ideas 
into  tangible  reality  with  reasonable  facility. 
Establishing  respect  and  affection  for  a  tool  as  an 
extension  of  the  hand,  hence  the  mind,  will  be  one  of 


m 


y 


^SS*2 


ts 


the  goals.  The  practice  of  critical  examination  of  your 
own  work  as  well  as  others  will  be  initiated. 
3  -  3 

Drawing  I  This  course  is  planned  to  contrast  with  the 
more  abstract  orientation  of  the  accompanying  design 
courses.  It  presents  some  of  the  basic  problems, 
techniques  and  references  of  the  figurative  artist. 
Emphasis  is  placed  upon  the  observation  and 
understanding  of  natural  forms  and  their  translation 
through  line,  form,  light  and  shade.  A  complete  study 
of  the  human  skeleton  and  muscle  structure  is 
included.  Media  used  are  pencil,  charcoal,  crayon, 
silver  point,  and  wash. 
5  -  5 

English  I  Writing  is  the  craft  of  finding  your 
convictions,  testing  them,  shaping  them.  This  course 
will  explore  that  craft.  There  will  be  reading  from  recent 
fiction,  poetry,  drama  and  autobiography. 
3  -  3 


24 


Problems  of  Western  Civilization  I  The  object  of  this 
course  is  to  study  the  past  as  a  force  which  shapes 
and  informs  the  present.  The  specifics  of  the  course 
vary  from  year  to  year  and  range  from  a  detailed  study 
of  a  19th  Century  American  city  to  a  general  survey  of 
key  junctures  in  the  play-scheme  of  Western  thought. 

The  students  will  Pe  reguired  to  study  their  own 
communities  or  others  that  interest  them  and  prepare 
term  papers  copiously  illustrated  with  photographs  and 
drawings. 
3  -  0 


First  Year 

Foundation  Drawing 

Design  I  —  2-D  and  3-D 

English  I 

Problems  of  Western  Civilization  I 

Art  History  I 


Credits 


5 

5 

5 

5 

3 

3 

3 

0 

0 

3 

6 

16 

25 


Life  Drawing  is  the  concentrated  study  of  the  model  in 
different  environments  and  situations  of  light  and 
movement.  The  approach  is  essentially  descriptive,  but 
with  an  emphasis  on  certain  formal  principles.  A 
consideration  of  the  classic  view  of  the  figure  as  a 
perfectly  organized  structure  is  contrasted  to  more 
expressive  possibilities. 
3  -  0 

Figure  Modeling  The  basic  purpose  of  the  course  is 
to  begin  analysis  of  the  proportions  of  the  human  body, 
to  experience  a  form  in  space  —  a  three-dimensional 
reality,  as  opposed  to  the  two-dimensional  illusion  of 
drawing.  It  will  be  an  experience  in  seeing,  a  truly 
analytical  examination.  Drawing  will  be  an  integral  part 
of  the  course  —  to  establish  it  as  a  way  of  thinking,  of 
organizing,  and  as  a  valuable  tool  for  the  mind.  Reliefs 
will  also  be  dealt  with,  providing  a  bridge  between 
drawing  and  sculpture. 
0-  3 

Introductory  Painting  is  based  on  the  drawing, 
design,  and  color  experiences  gained  in  the  previous 
year.  Traditional  methods  of  representation  and 
composition  are  studied  in  a  series  of  studio  problems 
26 


M 


and  seminar  type  criticisms.  You  work  from  nature  (still 
life,  figure,  landscape)  in  order  to  provide  an  objective 
basis  against  which  you  may  measure  your  success  in 
dealing  with  concepts  of  space,  light,  form  and  color. 
Introductory  Painting  includes  perspective,  anatomy, 
color  theory  and  basic  oil  techniques. 
2  -  2 

Introductory  Sculpture  This  Sophomore  course  is 
aimed  toward  students'  more  seriously  considering  a 
major  in  sculpture.  You  will  further  examine  basic 
materials,  try  more  specialized  methods  of  application 
and  become  more  aware  of  the  forms  which  surround 
you  in  the  natural  and  man-made  environment. 
Drawing  will  be  used  as  a  vital  means  of  recording  and 
testing  these  ideas.  Your  participation  in  class  critiques 
will  be  encouraged  as  a  means  of  exchanging 
information  and  developing  a  better  critical  judgement. 
2  -  2 


Introductory  Design  is  a  more  complex  investigation 
of  visual  organization  and  visual  communication.  It  is  a 
continuation  of  the  previous  course,  dealing  in  both 
two  and  three  dimensional  problems  and  the 
exploration  of  color  as  an  aid  to  the  designer.  Critiques 


27 


of  classroom  projects  relate  the  specific  directions  of 
student  work  to  a  variety  of  design  oriented  situations. 
For  example,  both  two  and  three  dimensional  problems 
may  be  discussed  in  terms  of  toy  design,  creative 
educational  materials,  development  of  interior  and 
exterior  environments,  parks,  playgrounds,  etc.,  as  well 
as  the  concern  with  the  visual  impact  of  the  printed 
page.  This- course  attempts  to  inform  you  of  the 
diversity  within  the  design  field,  and  offers  you  the  time 
and  opportunity  for  research  and  experimentation  of 
problems  and  materials  as  a  basis  for  continuation  in 
the  major  program. 
2  -  2 

Introductory  Printmaking  gives  you  an  opportunity  of 

experiencing  the  many  techniques  of  Printmaking. 
Through  scheduled  critiques  and  discussions, 
familiarity  with  the  tradition  of  Printmaking  and  working 
in  the  many  media,  an  understanding  of  its  functions 
and  character  is  developed. 

Required  Sophomore  Printmaking  Media  include:  relief 
printing,  photography,  drypoint,  engraving,  etching 
aquatint,  lithography  and  silk  screen. 
2  -  2 
28 


A  note  on  Photography  Photography  does  not 
appear  as  a  separate  course  in  our  catalog  because  it 
is  as  much  a  prmtmaking  medium  as  lithography  or 
etching  and  should  be  understood  as  such.  You  have 
noted  that  photography  is  required  of  all  second  year 
students.  The  highly  motivated  student  who  wishes  to 
concentrate  in  photography  as  a  printmaking  medium 
may  discuss  his  wishes  with  a  committee  of  the  faculty. 

Note: 

Liberal  Arts  Electives  may  be  chosen  from  those 
described  in  the  Liberal  Arts  section  beginning  on 
page  40. 

Studio  Electives:  Choose  any  two  of  Introductory 
Painting,  Design  or  Sculpture. 


Second  Year 

Life  Drawing-Figure  Modeling 

Printmaking 

Studio  Electives 

Studio  Electives 

Liberal  Arts  Elective 


Credits 


3 
4 

2 

2 

3 

•  I 


A 
2 
2 
3 

I  I 


29 


Major  Program 


The  Major  Studio  Programs  offered  are  Design, 
Painting,  Sculpture  and  Printmaking.  The  Major 
Program, which  comprises  the  last  two  years  at  Swain, 
is  a  radical  departure  from  the  Foundation  Program. 
The  Program,  Puilt  around  your  specific  needs,  is  more 
individual  in  nature  since  you,  instead  of  taking  formal 
courses,  spend  the  principal  part  of  your  time  in  your 
major  workshop.  Essentially  this  program  most 
resembles  the  tutorial  or  honors  program  in  a  liberal 
arts  college.  The  weight  of  responsibility  for  organizing 
research  materials,  equipment  and  time  is  gradually 
transferred  to  you.  The  teacher's  role  becomes  that  of 
the  critic,  approximating,  as  clearly  as  possible,  a 
professional  situation. 


Since  the  Major  Program  is  essentially  individual  in 
nature,  imposing  no  specific  standards  or 
requirements  on  you,  the  problem  of  guidance,  and 
evaluation  of  your  achievement  becomes  particularly 
important.  During  the  third  year  the  advisor  plans  a 
program  of  studies  with  you.  At  the  beginning  of  the 
fourth  year  you  present  to  the  faculty  an  outline  of  your 
plans,  a  first  draft  of  sketches,  layouts  or  models. 
Periodically  you  will  meet  with  the  committee  to  present 
work  done  and  discuss  revisions  and  projected  plans. 
Though  no  school  can  program  into  being  an 
independent  and  responsible  individual,  such  a 
curriculum  does  set  up  a  situation  in  which  the  student 
can  achieve  genuine  maturity  as  an  artist  and  as  a 
person. 


30 


^     r 


Painting  workshop  1/2 


Painting  Workshop  develops  from  materials  tirst 
presented  in  the  introductory  drawing  and  painting 
studios.  In  conjunction  with  the  Workshop,  a  study  ot 
traditional  and  contemporary  art  theory  is  made  in 
group  and  individual  criticism. 

You  are  introduced  to  painting  technigues  in  which  the 
history  and  practice  ot  a  variety  of  Pasic  painting  media 
is  studied.  Along  with  a  thorough  familiarity  with  the  tools 
and  crafts  of  painting,  emphasis  is  placed  on  the 
development  of  an  attitude  and  a  commitment  that  is  at 
least  as  important  as  a  knowledge  of  technigue. 

Through  assigned  and  student  initiated  problems,  a 
number  of  possibilities  are  made  accessible  and  you  are 
enabled  to  develop  as  a  serious  painter. 


Third  Year 

Painting  Workshop  I 

Life  Drawing-Figure  Modeling 

Studio  Elective 

Liberal  Arts  Electives 

Fourth  Year 

Painting  Workshop  II 
Liberal  Arts  Elective 


Credits 


Credits 


6 

6 

2 

2 

2 

2 

6 

6 

16 

16 

12 

12 

3 

3 

15 

15 

32 


Design  workshop  1/2 


The  design  workshop  is  a  concentration  of  specific 
projects  with  emphasis  on  your  ability  to  creatively 
solve  a  variety  of  problems,  originating  the  concepts 
and  developing  them  to  completion.  Photography  is 
incorporated  within  the  program  as  an  extension  of  the 
design  potential.  It  is  explored  as  one  method  in  which 
the  student  might  solve  a  given  problem,  and  is  used 
in  conjunction  with  both  two  and  three  dimensional 
assignments.  Photography,  color,  and  illustration  are 
further  explored  through  photo  silkscreen. 

As  a  part  of  our  program,  we  try  to  focus  attention  on 
our  community.  Projects  direct  creative  talents  toward 
making  that  environment  more  pleasant  and  functional, 
and  communicating  information  in  a  more  coherent 
manner.  These  projects  not  only  bring  the  school  into 
closer  harmony  with  the  community,  of  which  it  is  a 
part,  but  envolve  the  more  advanced  students  in 
situations  dealing  with  real  limitations,  real  information 
needs,  and  real  budgets. 


Third  Year 

Design  Workshop  I 

Life  Drawing-Figure  Modeling 

Studio  Elective 

Liberal  Arts  Electives 

/ 

Fourth  Year 

Design  Workshop  II 
Liberal  Arts  Elective 


Credits 


Credits 


6 

c 

2 

2 

2 

2 

6 

6 

16 

16 

12 

12 

3 

3 

15 

15 

34 


Sculpture  workshop  1/2 


The  Sculpture  Workshop  requires  the  basic 
information  in  problem  solving  and  use  of  materials 
gained  during  the  two  previous  years.  The  firm 
course  structure  of  the  foundation  period  will  give 
way  as  the  urgency  of  your  own  need  for  personal 
statement  becomes  more  intense.  At  this  point  in  your 
career  you  should  be  forming  a  commitment  and  a 
sense  of  discipline  as  you  concentrate  more  deeply 
and'narrowly  upon  those  sculptural  problems  and 
materials  which  you  find  most  compelling.  Frequent 
discussions  with  instructors  and  regular  group 
criticisms  with  students  will  help  you  keep  an  open 
mind  and  think  out  your  direction  more  carefully. 


Third  Year 

Sculpture  Workshop  I 

Life  Drawing  —  Figure  Modeling 

Studio  Elective 

Liberal  Arts  Electives 

Fourth  Year 

Sculpture  Workshop  II 
Liberal  Arts  Electives 


Credits 


Credits 


6 

6 

2 

2 

2 

2 

6 

6 

16 

16 

12 

12 

3 

3 

15 

15 

36 


Printm 


Printmaking  centers  around  the  Print  Room  and  Dark 
Room  which  functions  as  a  laboratory  and  machine 
shop  containing  the  equipment  that  is  essential  for 
the  training  in  the  many  diverse  techniques  of  making 
prints.  The  Print  Room,  through  its  very  nature,  is 
capable  of  fulfilling  the  philosophical  and  social  need 
of  the  artist  to  'get  his  work  out',  which  is  the  core  of 
this  medium  of  the  multi-original.  It  is  apparent  that 
mOst  artists,  whatever  their  major  field,  are  going  to 
use  Printmaking  as  part  of  their  artistic  expression, 
finding  in  it  a  source  for  realizing  the  need  for 
distribution  of  their  work. 


Third  Year 

Printmaking  Workshop  I 
Life  Drawing-Figure  Modeling 
Studio  Elective 
Liberal  Arts  Electives 


Fourth  Year 

Printmaking  Workshop  II 
Liberal  Arts  Electives 


Credits 


6 

6 

2 

2 

2 

2 

6 

6 

16 

16 

Credits 

12 

12 

3 

3 

15 

15 

The  major  student  is  expected  to  work  with  problems 
in  all  areas  of  Printmaking  with  a  view  to 
understanding  their  relevance  as  ways  of  realizing  his 
creative  ideas.  Only  the  motivated  student,  dedicated 
to  developing  an  aesthetic  in  keeping  with  such  a 
field,  is  encouraged  to  major  in  Printmaking, 


38 


arts  courses 


Besides  the  crafts  of  the  hand  and  the  eye  there  are 
crafts  of  the  imagination.  Good  visual  work  does  what 
good  writing  does,  it  makes  experience  more  vivid.  A 
place  is  ignored,  invisible,  until  it  has  been  painted,  or 
used  in  a  story,  or  mapped,  or  gardened,  or  in  some 
other  way  imagined.  There  is  the  danger  of  time 
sliding,  of  events  seeming  as  if  they  had  never 
happened,  of  people  dying  as  if  they  had  never  been. 
The  deepest  craft  of  any  artist  is  that  of  falling  in  love 
with  the  world,  of  knowing  that  what  he  has  seen  is 
worth  seeing.  It  is  a  craft  shared  by  architects, 
anthropologists,  novelists,  psychologists,  poets, 
designers,  illustrators,  mapmakers,  painters, 
gardeners,  sociologists,  sculptors,  and  photographers. 


been  this  way,  its  drift;  recognizing  others  as 
themselves  and  not  simple  variations  of  you;  finding 
what  contradicts  your  uniqueness,  what  all  persons,  all 
societies,  all  times,  have  in  common;  learning  to  find 
sustenance  in  the  marrow  of  events  whose  bones 
seem  complicated";  learning  how  to  ask  questions 
which  are  worth  answering,  and  how  to  answer  them.  It 
is  the  craft  of  learning  to  live  well. 

The  liberal  arts  courses  take  the  work  of  art  historians, 
poets,  travelers,  novelists,  historians,  sociologists, 
anthropologists,  biologists,  psychologists, 
philosophers  and  put  them  in  a  form  designers, 
painters,  photographers  and  sculptors  can  use. 


The  liberal  arts  courses  describe  that  craft,  presenting 
it  in  some  of  its  many  disguises,  that  you  might 
re-invent  it  for  yourself  and  bring  it  to  your  own  visual 
work.  It  is  a  craft  to  be  seen  in  many  separate  acts: 
finding  what  you  actually  feel  within  that  inward  noise; 
telling  the  difference  between  those  things  you  are 
sure  of  and  those  other  things  you  are  just  in  the  habit 
of  saying;  discovering  what  your  experience  can  be 
compared  to,  measured  against;  locating  the  present, 
realizing  how  wide  it  is,  how  deep  it  is,  how  long  it  has 
40 


In  the  freshman  year  there  are  four  required  liberal  arts 
courses,  two  a  semester;  in  the  remaining  three  years 
you  choose  eight  courses  from  a  list  of  sixteen 
electives.  But  you  must  choose  carefully.  Of  those 
eight  courses,  three  must  be  courses  in  Visual 
Studies,  two  must  be  courses  in  Social  Studies,  three 
must  be  courses  in  Humanities. 

Because  the  department  is  small  it  is  impossible  for  us 
to  provide  the  diversity  of  courses  available  in  a 


Eli.Ak.jk^^M .-V/<mt  m  iimm- 


t-  l    1 


larger  liberal  arts  college  —  We  offer  no  course  in 
"Shakespeare"  or  "The  Biology  of  Fishes".  However, 
the  faculty  is  able  to  encourage  individual  students  to 
pursue  their  particular  interests  at  S.M.U.  for  credit. 

Note  Freshman  Year:  (all  four  courses  are  required). 
Sophomores,  Juniors  and  Seniors:  these  eight 
electives  should  include: 


Three  electives  in  Visual  Studies 

Two  electives  in  Social  Studies 

Three  electives  in  Humanities 

First  Year 

Credits 

Two  Semesters  English 

6 

One  semester  Art  History 

3 

One  Semester  Problems  of  Western  Civilization 

3 

Second  Year 

Credits 

Two  Electives 

6 

Third  Year 

Credits 

Four  Electives 

12 

Fourth  Year 

Credits 

Two  Electives 

6 

41 


Humanities  1:  Poetry  Workshop  Here  you  will  write 
poems,  re-wrlte  them,  tame  them,  perform  them,  look 
at  the  things  poetry  can  do,  learn  to  see  poetry  as  an 
act  rather  than  a  product.  You  will  do  what  people 
writing  poetry  always  do:  explore  the  ways  in  which 
you  can  be  moved,  look  for  ways  to  make  experience 
matter,  invent  some  way  to  tell  your  good  poems  from 
your  bad  poems. 

Much  of  what  is  read  in  the  course  will  be  written  there; 
there  will  also  be  some  reading  from  published  poets. 
The  point  will  be  to  give  you  poetry  as  a  lens  to  focus 
experience  and  as  a  tool  to  change  it. 
3 

Humanities  2:  Creative  Writing  The  purpose  of  this 
course  is  to  investigate,  by  practice,  examination  and 
discussion,  writing  as  a  fine  art.  Students  will  read  and 
criticize  each  other's  work,  as  well  as  the  work  of 
commercial  outsiders. 
3 

Humanities  3:  Children's  Books  The  course  is 
designed  to  provide  a  background  in  children's 
classics,  as  well  as  to  consider  the  nature  of  children 
as  an  audience.  The  use  of  books  in  the  education  of 
42 


children  will  be  considered.  Students  enrolled  in  the 

course  will  write  one  long  work  for  children. 

3 

Humanities  4:  The  Structure  of  Theatrical 
Composition  An  inquiry  into  the  nature  of  the  theater, 
of  acting,  of  presenting  a  story  publicly  by  action. 
Students  will  write,  act  and  direct  enough  to  have 
some  first  hand  knowledge  of  these  occupations; 
however  a  primary  aim  of  the  course  is  to  provide  a 
thorough  familiarity,  by  reading,  with  important  works 
that  have  been  made  for  the  theater. 
3 

Humanities  5:  History  Workshop  History  is  a  human 
act,  a  way  of  reflecting  on  those  things  which  have 
been  lost  from  human  experience,  a  way  of  exploring 
themes  or  shapes  which  keep  recurring,  a  way  of 
thinking  about  the  present  as  a  moment  which  began 
ten  or  ten  thousand  years  ago.  This  course  will  be  an 
opportunity  to  write  history,  reconstruct  a  story,  the  way 
people  build  mosaics  from  broken  chips. 

Participants  in  the  course  will  work  from  the  fragments 
and  traces  that  have  been  preserved,  from  paintings, 
photographs,  maps,  novels,  poems,  letters,  diaries, 


i 


biographies,  statistics,  fossils.  We  will  make  something 
of  the  difference  between  these  guestions:  What  did 
they  think  was  happening?  What  do  we  think  was 
happening? 
3 

Humanities  6:  Philosophy  As  Means  (offered  on 
reguest,  limited  to  four  students)  A  philosophy  is  not  a 
collection  of  beliefs,  it  is  a  method,  an  approach  to 
experience.  Reading  philosophy  is  a  way  of  seeing  the 
different  styles  available  for  facing  some  important 
guestions.  There  are  many  such  guestions;  we  will  work 
with  these: 

What  can  I  be  sure  about?  (Are  there  different  ways  of 
being  sure?) 

What  limits  me?  (What  is  fate  like?  What  is  freedom  like?) 

How  shall  I  amplify  my  awe7 

We  will  work  with  these  philosophers:  Pascal, 
Kierkegaard,  Nietzsche,  Wittgenstein. 

The  purpose  of  the  course  is  to  illuminate  the  actual 
kinship  between  style  in  philosophy  and  style  in  the 
visual  arts. 
3 

43 


Visual  studies 


Visual  Studies  1:  Twentieth  Century  Art  Twentieth 
century  visual  art  has  not  one  style,  but  many.  This 
suggests  fundamental  changes  in  the  relationship  of 
an  artist  to  his  work  and  to  his  audience.  The  artist  is 
forced  to  these  questions:  How  shall  I  choose  a  style 
when  there  are  so  many?  How  shall  I  find  a  style 
whose  emotional  significance  is  not  obscured? 
To  clarify  these  questions  we  will  examine  the  work  of 
twentieth  century  artists  from  four  perspectives: 
original  work,  slides,  the  writing  or  remarks  of  the  artist, 
the  critics'  attempt  to  offer  other  explanations. 
3 

Visual  Studies  2:  About  Time  and  Movies  This  will 
be  a  reflection  on  some  of  the  things  movies  do  or  can 
do,  considering  also  some  of  the  ways  they  shed  light 
on  the  art  of  making  still  pictures  or  the  art  of 
storytelling.  Because  movies  mimic  the  flow  of 
experience  they  permit  us  to  reconsider  the  acts'  of 
wrenching  a  motionless  image  from  that  flow,  and  of 
imitating  that  flow  by  using  words  which  evoke  it.  We 
will  explore  ways  of  experiencing  time,  ways  of  giving 
psychological  weight  to  time,  ways  of  giving  time 
coherence.  Some  of  the  evidence  will  be  drawn  from 
movies,  some  from  painting,  novels,  photographs. 
3 
44 


Visual  Studies  3:  Aesthetics  and 

Anaesthetics  This  will  be  a  discussion  of  meaning  in 

art.  Among  the  questions  to  be  considered  are  these: 

How  does  a  work  of  art  mean  something?  How  is  it 
able  to  open  us  to,experience? 

When  is  art  superficial,  when  is  it  empty,  when  does  it 
disclose  depth? 

What  is  the  value  of  tempering  personal  taste?  What 
kinds  of  criticism  are  valid?  What  kinds  arbitrary? 

To  investigate  the  position  of  the  arts  in  a  mass  culture. 

Although  the  questions  are  drawn  from  the  philosophy 
of  art,  discussion  will  center  on  real  visual  objects: 
paintings,  shoes,  boxes,  photographs. 
3 

Visual  Studies  4:  On  Vision  The  world  of  science 
and  the  world  of  ecstacy  come  together  in  the  eye. 
Vision  is  our  closest  contact  with  actuality,  closer  than 
touch  or  hearing.  Visions  are  those  odd  moments  in  the 
life  of  seers. 

In  this  course  we  will  talk  about  the  relationships 
between  seeing  and  envisioning,  between  the  familiar 


world  of  ordinary  sight  and  the  strange  one  of 
scientists  or  mystics.  In  general  we  will  examine  some 
of  the  implications  of  having  eyes,  and  some  of  the 
options  the  eye  offers. 
3 

Visual  Studies  5:  Landscapes  is  an  exploration  of 
different  ways  in  which  men  and  the  land  co-exist.  The 
goal  of  the  course  is  the  invention  of  a  new  way  to 
consider  the  painting  of  landscape.  Topics  to  be 
studied  include:  Gardens,  Tactics,  Cartography, 
City-building,  Roads,  Creation  Myths.  Students  will  be 
expected  to  execute  one  significant  piece  of  research, 
and  to  maintain  a  careful  written  journal. 
3 

Visual  Studies  6:  Symbols  of  Transformation  A 

study  of  the  visual  symbolic  content  of  psychological 
change  as  recorder  in  art  and  literature.  The  processes 
involved  in  the  creation  of  fantasy  are  examined 
through  the  mediums  of  fiction  and  the  visual  arts. 
3 


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Social  studies 


Social  Studies  1:  Technological  Society  The 

industrial  city,  the  assembly  line,  efficiency, 
standardization,  the  expert:  such  things  dominate  our 
ability  to  imagine  society  or  imagine  alternatives.  There 
is  the  danger  of  technological  society  becoming  a 
given,  a  fate,  a  background:  a  danger  of  imagining  the 
only  options  to  be  acquiescence  or  flight  to  the 
country.  It  is  difficult  to  imagine,  deal  with,  make  peace 
with  technological  society.  This  course  is  an  attempt  to 
develop  a  student's  sociological  imagination.  Much  of 
the  course  examines  the  consequences  of  excessive 
social  planning  and  excessive  social  control.  The  rest 
is  a  search  for  alternatives. 
3 


Social  Studies  2:  The  History  of  the  Future  Here 
we  will  look  at  the  variety  of  ways  of  imagining  a  future, 
of  imagining  what  is  possible,  of  imagining  what  will 
happen,  of  imagining  what  could  happen.  The  course 
will  be  an  examination  of  the  value  and  perils  of  the 
Utopian  imagination. 

It  will  be  arranged  as  a  series  of  case  studies: 

Medieval  expectations  of  the  end  of  time. 

Renaissance  versions  of  the  perfect  society. 

Nineteenth  century  Utopian  thought. 

The  personal  future  of  nineteenth  century  Americans. 

Twentieth  century  revolutionaries. 

The  future  of  the  future. 

3 


46 


Social  Studies  3:  Worlds  and  Cosmologies  The 

course  will  follow  a  sequence  of  written  attempts  at 
discovering,  arranging,  defining,  or  controlling  the 
nature  of  the  universe.  Our  interest  is  not  only  in  the  act 
of  the  individual,  the  philosophical  act  of  definition  - 
but  also  in  the  social  implications  of  these  acts,  and 
their  origins  in  historical  phenomena.  Required  texts 
will  include  the  following:  The  Crock  of  Gold,  The  Rule 
of  St.  Benedict,  Sun  Chief,  Beowulf,  One  Hundred 
Years  of  Solitude,  Yanoama,  Women  and  Their  Bodies, 
Heraclitus. 
3 

Social  Studies  4:  Travelers  Our  interest  is  principally 
in  first  hand  narrative  accounts  by  witnesses  or 
participants  in  campaigns  or  discoveries  of  historical 
or  scientific  importance.  We  will  study  the  influence  of 
the  event  on  the  witness.  Possible  readings:  Travels  of 
Marco  Polo:  Travels  of  William  Bartram;  History  of 
Herodotus,  Caesar,  or  Tacitus:  Mailer's  Armies  of  the 
Night. 
3 


47 


Faculty 


David  Loeffler  Smith,  Dean  of  School  and  Instructor  of 
Painting  and  Drawing;  B.A.,  Bard  College;  M.F.A. 
Cranbrook  Academy  of  Art,  Hans  Hofmann 


Leo  Kelley,  Instructor  of  Liberal  Arts;  B.S.; 
Massachusetts  Institute  of  Technology 


:S., 


Nicholas  J.  Kilmer,  Instructor  of  Liberal  Arts;  B.A. 
Georgetown  University;  M.A,  Harvard  University 

Arthur  J.  Spring,  Jr.,  Instructor  of  Liberal  Arts:  B.A. 
Columbia  College:  M.A.  Columbia  University 

Russell  Mroczek,  Instructor  of  Design  and  Photography; 
B.F.A.  Massachusetts  College  of  Art 

Bruce  W.  Naftel,  Instructor  of  Design;  B.S.  in  Art  and 
M.A.  in  Graphic  Design,  Western  Michigan  University 


L.  John  Osborne,  Instructor  of  Prmtmaking;  M.F.A. 
California  College  of  Arts  and  Crafts;  Undergraduate; 
Medway  College  of  Art  and  Kent  College  (England) 

Steven  L.  Plumhoff,  Instructor  of  Sculpture;  B.F.A. 
Minneapolis  College  of  Art  and  Design;  M.F.A.  Rhode 
Island  School  of  Design 

Barry  Michael  Rosenthal,  Instructor  of  Painting  and 
Drawing;  B.A.  University  of  Pennsylvania,  Columbia 
University,  Lennart  Anderson,  James  Weeks,  Gabriel 
Laderman 


48 


Administration 


William  J.  Finn,  Director  and  Instructor  of  Sculpture, 
University  of  Toronto;  B.F.A.,  Rhode  Island  School  of 
Design 

Eleanor  R.  Peckham,  Office  Manager 

Betty  Bryant,  Bookkeeper 

Merle  Sanderson,  Special  Services  Director 

Diane  B.  CamPra,  Administrative  Assistant 

Gerald  S.  Coutinho,  Financial  Aid  Consultant,  B.S. 
Southeastern  Massachusetts  University;  Director  of 
Financial  Aid,  Southeastern  Massachusetts  University 

Fred  Gomes,  Buildings  &  Grounds  Superintendent 

Vivian  C.  Perry,  Head  Librarian,  Bridgewater  State 
College,  Southeastern  Massachusetts  University, 
Bristol  Community  College 


49 


David  B.  Titus,  President 

William  H.  Potter,  Vice  President  and  Treasurer 

Richard  A.  Pline,  Secretary 

Mrs.  John  M.  Bullard 

George  L.  Considine 

Mrs.  William  E.  Coykendall,  Jr. 

Mrs.  Daniel  E.  Finger 

Jack  P.  Hudnall 

Mrs.  A.  Lloyd  Russell 

Mrs.  Paul  A.  Schmid 

Cecil  C.  I.  Wylde 

W.  Myron  Owen 

Mrs.  W.  Julian  Underwood 

S.  Whitney  Dickey 


50 


rs 


Robert  L.  Bertolli,  Professor  of  Art  —  Boston  State 
College 

Gilbert  Franklin,  Chairman,  Fine  Arts 
Division  —  Rhode  Island  School  of  Design 

Bartlett  H.  Hayes,  Jr.,  Curator  of  the  American 
Academy,  Rome 

Philip  Hofer,  Curator-Emeritus  of  Printing  and 
Graphic  Arts,  Houghton  Library,  Harvard 
University 

Boris  Mirski,  Director,  Boris  Mirski  Gallery 

George  C.  Perkins,  Attorney 

Oliver  Prescott,  Jr.,  Attorney 

Perry  T.  Rathbone,  Director-Emeritus,  Boston 
Museum  of  Fine  Arts 

W.  Knight  Sturges,  Architect 

S.  Morton  Vose,  Director,  Vose  Galleries  of 
Boston 


51 


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